Cornell's name for the work remembers a Viennese actor and dancer who appeared in several Hollywood films of the thirties and forties as well as in a wide variety of dance and avant garde theatrical performances. She was later a painter.
Cornell suspends Tilly in time: she embodies both the spectacle of performance and the attentive spectator at work, held or animated by a fragile collection of threads. She sits amidst, or aloft, the sublime spectacle of alps. Miniaturised and poised, Tilly has a body that is still and yet in action. She is seated in a space whose contours describe a simulated theatre; inside and outside, her location mid-air makes her half-audience, half-curtain (raiser).
You can find more information about Joseph Cornell here, here, and here, and we will be kicking off the unit by viewing a Cornell film, Rose Hobart. You can view it here.
You can find more information about Tilly Losch here.
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